DOCSLIB.ORG

Parasocial Relationships with Transgender Characters and Attitudes Toward Transgender Individuals

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Parasocial Relationships with Transgender Characters and Attitudes Toward Transgender Individuals Syracuse University SURFACE Dissertations - ALL SURFACE December 2016 Parasocial relationships with transgender characters and attitudes toward transgender individuals Lizhen Zhao Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Zhao, Lizhen, "Parasocial relationships with transgender characters and attitudes toward transgender individuals" (2016). Dissertations - ALL. 553. https://surface.syr.edu/etd/553 This Thesis is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract The transgender population lives in a condition of serious discrimination, poverty and violence (NCTE, 2014). Few studies, however, have been conducted to understand people’s attitudes toward this population and factors that affect the responses. Applying the Parasocial Contact Hypothesis (Schiappa, Gregg & Hewes, 2005), this thesis investigated the relationship between audiences’ positive and negative parasocial relationships with transgender characters in TV and their attitudes toward transgender people in real life. A survey method was employed to address research questions and test hypothesis. Results show a significant association between parasocial relationship (positive or negative) and attitudes toward trans people in real life. Parasocial relationship was also found to have mediating and interactive effects on the relationship between perceived realism of characters and attitudes toward transgender population. Finally, it was also suggested that positive parasocial relationship with comedy characters is a stronger predictor of attitudes than with non-comedy characters. Contribution, limitation and implications were also discussed. Keywords: Parasocial Relationship, Attitudes towards Transgender, Parasocial Contact Hypothesis PARASOCIAL RELATIONSHIP WITH TRANSGENDER CHARACTERS AND ATTITUDES TOWARD TRANSGENDER INDIVIDUALS by Lizhen Zhao B.A. Fudan University, 2014 Thesis Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Media Studies. Syracuse University December, 2016 Copyright © Lizhen Zhao 2016 All Rights Reserve Table of Contents Abstract .......................................................................................................................................... 1 Chapter 1: Introduction ............................................................................................................... 1 The present study ..................................................................................................................... 2 Chapter 2: Literature review ....................................................................................................... 5 Transgender portrayals in media ........................................................................................... 5 Parasocial relationships ........................................................................................................... 7 Parasocial Contact Hypothesis .............................................................................................. 14 Perceived realism of character .............................................................................................. 18 Perceived variety of characters ............................................................................................. 19 Real life contacts and PCH .................................................................................................... 20 Humor and media effect ........................................................................................................ 21 Chapter 3: Methodology ............................................................................................................. 23 Sampling .................................................................................................................................. 23 Procedures ............................................................................................................................... 24 Measurements ......................................................................................................................... 24 Independent Variables. ........................................................................................................ 24 Dependent Variables. ........................................................................................................... 25 IRB ........................................................................................................................................... 28 Data analysis ........................................................................................................................... 28 Chapter 4: Results ....................................................................................................................... 30 Data cleaning .......................................................................................................................... 30 Normality, Reliability Testing and Correlation .................................................................. 31 Description of IVs and DVs ................................................................................................... 33 Hypotheses Testing ................................................................................................................. 37 Research question exploration .............................................................................................. 41 Chapter 5: Discussion ................................................................................................................. 43 Contributions .......................................................................................................................... 43 Limitations .............................................................................................................................. 50 Future research ...................................................................................................................... 50 Conclusion ............................................................................................................................... 52 Appendix A: Shows and characters selected ............................................................................ 53 Drama ...................................................................................................................................... 54 Comedy Drama ....................................................................................................................... 55 Appendix B: Survey Instruments .............................................................................................. 56 Positive Parasocial Relationship. ......................................................................................... 58 Negative Parasocial Relationship. ....................................................................................... 59 Attitudes towards transgender individuals. ......................................................................... 60 Tables ........................................................................................................................................... 64 Figures .......................................................................................................................................... 85 References .................................................................................................................................... 88 iv Vita ............................................................................................................................................. 101 v Chapter 1: Introduction This is a special moment for transgender people. With celebrities and advocates like Larverne Cox, Caitlyn Jenner, and recently Lilly Wachowski speaking out and increasing representation in scripted TV shows, the visibility of the transgender community in media has risen in the last several years (GLAAD, 2014, Nov.; 2016, Jan; Luk, 2016, March). Such entertainment content includes films and TV shows that adapt tragic true stories of real transgender people (such as Boys Don’t Cry, 1999, Soldier’s Girl, 2003, and A Girl Like Me, 2006). There are also reality shows that present the life of transgender people like Transamerican Love Story (2008), a transgender dating reality show and TRANSform Me, (2010), a make-over reality show produced and starred by transgender women Laverne Cox. There are also fictional and comedy shows that include or even center transgender characters, like Amazon’s comedy series Transparent (2014). There is no doubt that more and more transgender images are visible in the U.S. media, yet it is unclear if this “progress” is making any changes to transgender people’s lives. Their living conditions remain a major concern. According to Injustice at Every Turn: A Report of the National Transgender Discrimination Survey (Grant, Mottet, Tanis, Harrison, Herman & Keisling, 2011), transgender adults are more likely to be living in poverty (15% of respondents reported an annual household income lower than $10,000, while the average rate is 4%). The report also shows that 30% of them reported a physical or mental disability that interferes with major life activities; at the same time, 6% of
Load more

Recommended publications
  • Solidarity Against Austerity: OFL in Action the Ontario Federation of Labour (OFL) Represents 54 Unions and One Million Workers
    ONTARIO FEDERATION OF LABOUR Solidarity Against Austerity: OFL in Action The Ontario Federation of Labour (OFL) represents 54 unions and one million workers. It is Canada’s largest provincial labour federation. General inquiries regarding this document should be directed to: Ontario Federation of Labour (OFL) | Fédération du travail de l’Ontario (FTO) 15 Gervais Drive, Suite 202, Toronto, Ontario M3C 1Y8 Telephone: 416-441-2731 Fax: 416-441-1893 Toll-Free: 800-668-9138 Email: [email protected] TDD: 416-443-6305 Web: www.OFL.ca Follow the OFL online: Twitter.com/OntarioLabour • www.Facebook.com/OntarioFedLabour • Flickr.com/OntarioFedLabour COPE343 ONTARIO FEDERATION OF LABOUR Solidarity Against Austerity: OFL in Action 1 11TH BIENNIAL CONVENTION • OFL CONVENTION REPORT • DEC. 2009 TO NOV. 2011 PART 1 - Challenging Austerity .......................4 1. Occupy Movement: The Fight for the 99% ..............4 2. The Common Front: Building a Mass Community- Table of Labour Initiative ...................................5 3. Defending Pensions ................................6 • Retirement Security for All ........................6 • Flaherty Betrayal of CPP Sparks Occupation .........6 Contents 4. Anti-Scab Campaign: Solidarity with ECP Workers ....... 7 5. The People vs U.S. Steel & the Harper Government ...... 7 6. Torontonians Rally for Respect .......................8 7. Rally to Safeguard Public Health Care .................9 8. G20 Summit: Canada Pushes for Global Austerity. 10 • People First Rally Mobilizes 35,000 ...............10 • Defending Civil Liberties ........................11 PART 2 - Defending Workers’ Rights .................12 1. Defending the Right to Strike .......................12 • CAW’s Air Canada Sales Staff Not Intimidated by Government Threats .........................12 • CUPW in Battle with Canada Post & the Harper Government .......................13 • CUPE Flight Attendants Challenge Minister’s Pro-Corporate Bias .............................14 2.
    [Show full text]
  • Audience Affect, Interactivity, and Genre in the Age of Streaming TV
    . Volume 16, Issue 2 November 2019 Navigating the Nebula: Audience affect, interactivity, and genre in the age of streaming TV James M. Elrod, University of Michigan, USA Abstract: Streaming technologies continue to shift audience viewing practices. However, aside from addressing how these developments allow for more complex serialized streaming television, not much work has approached concerns of specific genres that fall under the field of digital streaming. How do emergent and encouraged modes of viewing across various SVOD platforms re-shape how audiences affectively experience and interact with genre and generic texts? What happens to collective audience discourses as the majority of viewers’ situated consumption of new serial content becomes increasingly accelerated, adaptable, and individualized? Given the range and diversity of genres and fandoms, which often intersect and overlap despite their current fragmentation across geographies, platforms, and lines of access, why might it be pertinent to reconfigure genre itself as a site or node of affective experience and interactive, collective production? Finally, as studies of streaming television advance within the industry and academia, how might we ponder on a genre-by- genre basis, fandoms’ potential need for time and space to collectively process and interact affectively with generic serial texts – in other words, to consider genres and generic texts themselves as key mediative sites between the contexts of production and those of fans’ interactivity and communal, affective pleasure? This article draws together threads of commentary from the industry, scholars, and culture writers about SVOD platforms, emergent viewing practices, speculative genres, and fandoms to argue for the centrality of genre in interventions into audience studies.
    [Show full text]
  • 2017 DGA Episodic Director Diversity Report (By STUDIO)
    2017 DGA Episodic Director Diversity Report (by STUDIO) Combined # Episodes # Episodes # Episodes # Episodes Combined Total # of Female + Directed by Male Directed by Male Directed by Female Directed by Female Male Female Studio Title Female + Signatory Company Network Episodes Minority Male Caucasian % Male Minority % Female Caucasian % Female Minority % Unknown Unknown Minority % Episodes Caucasian Minority Caucasian Minority A+E Studios, LLC Knightfall 2 0 0% 2 100% 0 0% 0 0% 0 0% 0 0 Frank & Bob Films II, LLC History Channel A+E Studios, LLC Six 8 4 50% 4 50% 1 13% 3 38% 0 0% 0 0 Frank & Bob Films II, LLC History Channel A+E Studios, LLC UnReal 10 4 40% 6 60% 0 0% 2 20% 2 20% 0 0 Frank & Bob Films II, LLC Lifetime Alameda Productions, LLC Love 12 4 33% 8 67% 0 0% 4 33% 0 0% 0 0 Alameda Productions, LLC Netflix Alcon Television Group, Expanse, The 13 2 15% 11 85% 2 15% 0 0% 0 0% 0 0 Expanding Universe Syfy LLC Productions, LLC Amazon Hand of God 10 5 50% 5 50% 2 20% 3 30% 0 0% 0 0 Picrow, Inc. Amazon Prime Amazon I Love Dick 8 7 88% 1 13% 0 0% 7 88% 0 0% 0 0 Picrow Streaming Inc. Amazon Prime Amazon Just Add Magic 26 7 27% 19 73% 0 0% 4 15% 1 4% 0 2 Picrow, Inc. Amazon Prime Amazon Kicks, The 9 2 22% 7 78% 0 0% 0 0% 2 22% 0 0 Picrow, Inc. Amazon Prime Amazon Man in the High Castle, 9 1 11% 8 89% 0 0% 0 0% 1 11% 0 0 Reunion MITHC 2 Amazon Prime The Productions Inc.
    [Show full text]
  • Psycho Killers, Circus Freaks, Ordinary People: a Brief History of the Representation of Transgender Identities on American TV Series
    Psycho Killers, Circus Freaks, Ordinary People: A Brief History of the Representation of Transgender Identities on American TV Series Abstract: In 1965, popular TV Series The Alfred Hitchcock Hour (NBC) aired the episode “An Unlocked Window”, in which it is revealed that the nurses killer in the area is a transvestite. It was the first time a transgender character appeared on a TV series, and until the late 80s that was the most stereotypical and basic – because it was minimal – representation of transsexuals on broadcast TV series and films: as psychopaths and serial killers. Other examples are Aldo Lado’s Who Saw Her Die? (1972), Brian de Palma’s Dressed to Killed (1980), Robert Hiltzick’s Sleepaway Camp (1983) and Jonathan Demme’s The Silence of the Lambs (1991). Throughout the 90s the paradigm changed completely and transsexual characters became much more frequent. However, the change was not for good, as they were turned now into objects of mockery and disgust in comedy TV series and films, in which the protagonist heterosexual male was “deceived” into kissing or having sex with an “abhorrent” trans just as a comic device. In the comedies Soapdish (1991), Ace Ventura (1994), and Naked Gun 33 1/3 (1994), the male protagonist ends up literally throwing up when he realizes that the girl he had been kissing was not born a female. Friends (1994-2004) and Ally McBeal (1997-2002) are also series of the late 90s in which the way transgender characters are represented is far from being appropriate. It has not been until the Golden Globe and Emmy awarded TV series Transparent (2014-2016) when transgender issues have been put realistically on the front line with the accuracy and integrity that they deserve.
    [Show full text]
  • Press Release
    PRESS RELEASE TELECOM ITALIA TO BRING NETFLIX TO TIMVISION TIM to offer easy access to the broad variety of Netflix TV shows & movies Partnership will contribute to the expansion of ultra-broadband in Italy Rome, 29 July 2015 Telecom Italia group and Netflix today announced an agreement to deliver easy access to Netflix to TIM's customers directly on the TIMvision set-top box. With this agreement TIM further confirms its commitment to disseminate innovative services – particularly in the entertainment space – also to contribute to the expansion of ultra-broadband in Italy, being the leading technological enabler thanks to its superfast fixed and mobile networks. TIM customers will have easy, on demand access to Netflix, the world’s leading Internet TV network. Netflix offers a wide selection of TV shows and movies, award-winning Netflix originals, and a special section just for kids. Netflix programming will be available in HD quality, directly on the TV via the TIMvision set-top box, on TIM’s fixed ADSL and UBB networks, the most broadly available networks in Italy. TIM and Netflix will work together to provide TIM’s customers an easy way to access the Netflix app and enable best streaming quality experience. At launch, the Netflix offering will include such exclusive Netflix Original series as Marvel’s Daredevil, Sense8, Bloodline, Grace and Frankie, Unbreakable Kimmy Schmidt and Marco Polo and critically acclaimed documentaries Virunga, Mission Blue and docuseries Chef’s Table as well as various stand-up comedy specials. Additionally, younger viewers will find a wide selection of programming for kids.
    [Show full text]
  • Netflix and the Development of the Internet Television Network
    Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation.
    [Show full text]
  • Star Channels, March 18-24
    MARCH 18 - 24, 2018 staradvertiser.com BY THE BOOK A killer takes a bestselling book about crime theory a little too literally in Instinct, a police procedural with a modern touch. In order to solve his murders, Det. Lizzie Needham (Bojana Novakovic) will need the author’s help. Watch as Dr. Dylan Reinhart (Alan Cumming), a former CIA operative-turned-professor and author, joins Needham in order to create a profi le and help catch the killer. Premiering Sunday, March 18, on CBS. WEEKLY NEWS UPDATE LIVE @ THE LEGISLATURE Join Senate and House leadership as they discuss upcoming legislation and issues of importance to the community. TOMORROW, 8:30AM | CHANNEL 49 | olelo.org/49 olelo.org ON THE COVER | INSTINCT The write wit Remixing police procedurals Without any motives or additional leads, following and firmly established the demand Needham reaches out to Reinhart for his help, for the police procedural drama. with ‘Instinct’ knowing that his unique perspective as author “Instinct” pulls from this transitory past, as — and former CIA operative — is her best hope the story began in the pages of a novel. The By K.A. Taylor at stopping this mysterious murderer. series is an adaptation of James Patterson’s TV Media To better prepare himself for the chase, novel “Murder Games,” with much of the Reinhart calls on some old friends for assis- series’ content staying true to Patterson’s olice procedural dramas are a staple of tance from his previous life, including Julian own words. Fans of literary, small-screen and North American television. Just mention- Cousins (Naveen Andrews, “Sense8”).
    [Show full text]
  • Netflix's Sense8 and Accompanying Twitter Communication Transnationale Ident
    Transnational Identity in Online Discourse – Netflix’s Sense8 and accompanying Twitter communication Transnationale Identität im Online Diskurs – Netflix’s Sense8 und Anschlusskommunikation auf Twitter by Anna Carolin Antonia Rohmann A thesis presented to the University of Waterloo and the Universitaet Mannheim in fulfilment of the thesis requirement for the degree of Master of Arts in Intercultural German Studies Waterloo, Ontario, Canada / Mannheim, Germany, 2020 © Anna Carolin Antonia Rohmann 2020 Author’s declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, in- cluding any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. Ehrenwörtliche Erklärung Ich versichere, dass ich die Arbeit selbstständig und ohne Benutzung anderer als der angege- benen Hilfsmittel angefertigt habe. Alle Stellen, die wörtlich oder sinngemäß aus Veröffentli- chungen in schriftlicher oder elektronischer Form entnommen sind, habe ich als solche unter Angabe der Quelle kenntlich gemacht. Mir ist bekannt, dass im Falle einer falschen Versiche- rung die Arbeit mit „nicht ausreichend“ bewertet wird. Ich bin ferner damit einverstanden, dass meine Arbeit zum Zwecke eines Plagiatsabgleichs in elektronischer Form versendet und gespeichert werden kann. Mannheim, 10.08.2020 ii Abstract Digital media has become ubiquitous and immensely shapes communitarisation, and thus identity construction. As media does not rely on physical border crossing to bring us in con- tact with different subject positions, traditional forms of mobility are not necessary to include people in transnational discourse and narratives of transnational identification. However, scholarly attention has been focused on discourses of transnational identities tied to tradition- al transgressions of national space.
    [Show full text]
  • Scriptedpifc-01 Banijay Aprmay20.Indd 2 10/03/2020 16:54 Banijay Rights Presents… Bäckström the Hunt for a Killer We Got This Thin Ice
    Insight on screen TBIvision.com | April/May 2020 Television e Interview Virtual thinking The Crown's Andy Online rights Business Harries on what's companies eye next for drama digital disruption TBI International Page 10 Page 12 pOFC TBI AprMay20.indd 1 20/03/2020 20:25 Banijay Rights presents… Bäckström The Hunt For A Killer We Got This Thin Ice Crime drama series based on the books by Leif GW Persson Based on a true story, a team of police officers set out to solve a How hard can it be to solve the world’s Suspense thriller dramatising the burning issues of following the rebellious murder detective Evert Bäckström. sadistic murder case that had remained unsolved for 16 years. most infamous unsolved murder case? climate change, geo-politics and Arctic exploitation. Bang The Gulf GR5: Into The Wilderness Rebecka Martinsson When a young woman vanishes without a trace In a brand new second season, a serial killer targets Set on New Zealand’s Waiheke Island, Detective Jess Savage hiking the famous GR5 trail, her friends set out to Return of the riveting crime thriller based on a group of men connected to a historic sexual assault. investigates cases while battling her own inner demons. solve the mystery of her disappearance. the best-selling novels by Asa Larsson. banijayrights.com ScriptedpIFC-01 Banijay AprMay20.indd 2 10/03/2020 16:54 Banijay Rights presents… Bäckström The Hunt For A Killer We Got This Thin Ice Crime drama series based on the books by Leif GW Persson Based on a true story, a team of police officers set out to solve a How hard can it be to solve the world’s Suspense thriller dramatising the burning issues of following the rebellious murder detective Evert Bäckström.
    [Show full text]
  • Title of Dissertation
    SETTING UP CAMP: IDENTIFYING CAMP THROUGH THEME AND STRUCTURE A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy By Michael T. Schuyler January, 2011 Examining Committee Members: Cornelius B. Pratt, Advisory Chair, Strategic Communication John A. Lent, Broadcasting, Telecommunications & Mass Media Paul Swann, Film & Media Arts Roberta Sloan, External Member, Theater i © Copyright 2010 by Michael T. Schuyler All Rights Reserved ii ABSTRACT Camp scholarship remains vague. While academics don’t shy away from writing about this form, most exemplify it more than define it. Some even refuse to define it altogether, arguing that any such attempt causes more problems than it solves. So, I ask the question, can we define camp via its structure, theme and character types? After all, we can do so for most other genres, such as the slasher film, the situation comedy or even the country song; therefore, if camp relies upon identifiable character types and proliferates the same theme repeatedly, then, it exists as a narrative system. In exploring this, I find that, as a narrative system, though, camp doesn’t add to the dominant discursive system. Rather, it exists in opposition to it, for camp disseminates the theme that those outside of heteronormativity and acceptability triumph not in spite of but because of what makes them “different,” “othered” or “marginalized.” Camp takes many forms. So, to demonstrate its reliance upon a certain structure, stock character types and a specific theme, I look at the overlaps between seemingly disperate examples of this phenomenon.
    [Show full text]
  • Ugly Betty's BECKI NEWTON Returns to NYC
    www.resident.com • January 29-February 4, 2008 • Vol. 20, No. 33 • $2.95 www.resident.com • December 2-15, 2008 • Vol. 20, N0. 61 • $2.95 WHO'S WHO in New York The Year's Winners and Losers PLUS KITCHEN KINGS AND QUEENS and REAL ESTATE RULERS EXCLUSIVE ON LOCATION Ugly Betty's BECKI NEWTON returns to NYC Holiday Window Guide • Offi ce Party Dos and Don'ts • Luxe Vegas Escape 20 • Resident The Week Of December 2, 2008 COVER returns to New York On LocationBecki Newton Ugly Betty’s By Rachel Bowie ecki Newton is thrilled to be home again. Back in New York to shoot on Broadway. As Newton says, the rest is history. the third season of the hit TV series Ugly Betty, Newton is in the midst “Part of the reason why I’m in love with New York of redecorating her new dressing room at Silvercup Studios in Queens. is because so many things have happened here,” The personal touches are obvious — freshly painted plum walls, the she says. “I met my husband here, I had my fi rst sleek white leather couch, a framed photo of her with husband Chris apartment here and, now, this job — there are just Diamantopoulos — she has made the room her own, a well-designed so many great associations with this city.” Breminder that she is back on the East coast. Newton, 30, grew up in Connecticut and moved On Ugly Betty, Newton plays Amanda, the receptionist and resident mean girl at to New York fresh out of college after earning a the Vogue-esque fashion magazine Mode.
    [Show full text]
  • In Transit: a Photographic Autoethnography on Travel As a Meaningful Transitional Time
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
    [Show full text]